Movie Review: The Irishman

A swing and a miss is the way I’d describe it. Formulaic. I know what the Italian quattro (Scorcese, Pacino, DeNiro, and Pesci) were thinking: Hey, it worked before; maybe it will work again.  The mob. The Kennedys and Castro. DeNiro as an Irish hit man. Hoffa. Music from the 1950s. Voiced-in explanations from the main characters giving the lowdown on each mob dude. Over-restored ‘50s and ‘60s cars. Let’s throw it all against the silver screen for 3½ hours and maybe something will stick (yeah, you read that right: 3½ hours). I know what they were thinking:  Goodfellas, The Godfather (and all of its Roman-numeraled follow-ons), and Casino.  Yeah, it worked before, so maybe it will work again. Except it doesn’t.  Those earlier mob flicks were great. The Irishman is not.

Guys, at some point you have to realize there’s not any milk left in the cow. Even with your digital filtering to make old guys look young, all you gave us were weird, slitty-eyed visions of a younger DeNiro with the body and gait of a senior citizen (where’s Fredo when you need him?).  And Pacino playing Hoffa? Another swing and a miss (you should have let the ump call a strike). Jack Nicholson will forever be Jimmy Hoffa; Pacino just wasn’t believable in this role.  If you can see it, then hey, I’m the Pope.  Al, go back to threatening Mr. Trump. You’re not believable in that role, either, but you apparently know what they say about bad publicity.

Save your money, folks, and hang on to that 3½ hours of your life I’ll never get back.  The Irishman is one that should sleep with the fish.